ミシェル・ラミーのお気に入りリック・オーウェンス家具5点

Over the past 20 years, Rick Owens and Michèle Lamy have developed a distinct visual language rooted in the contrast between apocalyptic explorations of decay and stark, architectural monuments to the body. As with the Rick Owens runways – the most recent featuring face-painted models baptised in the waters of the Palais de Tokyo – the couple’s mythos has become a point of cultural marvel. 

Their ventures into the home with Rick Owens Furniture fuse a mausoleum-style austerity with an otherworldly sense of grandeur, setting the stage for a darkly hedonistic celebration of domestic life. Since 2005, the line has become synonymous with massively oversized beds, the tactility of crocodile leather, and stone-forged forms amidst a fever dream of moose antlers. But whatever the material, a sensuality persists – in both its primal materiality and the fact that the beds are designed to house far more than two occupants. After all, Owens once referenced the furniture line as facilitating an “art orgy” at the Centre Pompidou in Paris.

Now, at Carpenters Workshop Gallery in London, Rust Never Sleeps expands this visual language. Named after the 1979 song by Neil Young, the exhibition treats rust as a starting point for examining time and destruction. Curated by Lamy, it reimagines brutalist forms as decaying artefacts through a process of controlled oxidisation. But this erosion is not an endpoint – nor the final marker of an object’s death. According to Lamy, it is evidence of both her own and our ongoing influences on the world. As she says, “Even if you think you are irrelevant, you can still be relevant.” Such is the nature of rust. 

Here, Michèle Lamy walks us through the processes and inspirations behind five of her favourite pieces from the exhibition.

Antler Installation

“The antler pieces are our signature. We have an avalanche of antlers at the entrance like a pile of chairs. It functions as a greeting – so when you come in, you know where you are. We don’t kill the animals for their antlers. They naturally lose them, and we use them the way we find them. People also turn antlers into food for humans and use them in medicine. They strengthen your bones – that’s why animals chew on them.”

K Plug Table

“My favourite piece is the table. But the pieces are like children – you don’t want to choose a favourite. The table has one top resting on another. They’re connected with no nails or attachments. We also played with the rust, and we stopped it at a certain level; we decided the amount of rust. That’s new for us. The rust is about the future of civilisation. I’m not going to be there, and the old, white, heterosexual men are going to disappear, too. There is decay in our society, but we can stop it. And our tables are for hosting dinners – for celebrating being strong and fighting for anti-fascism together.”

Double Bubble

“Double Bubble is two pieces – different from each other, but one way of being. One is crafted with wood from the Black Forest in Poland, the other from swamp wood found in the Bois de Marais in France. One is upholstered with crocodile leather from the Nile, the other cowhide. They are different because, otherwise, it would be too much of the same story. Both woods have retained their natural colours, since they’re only 5,000 years on their way to being petrified. What will they look like if we wait 200,000 years?”

Antler Bed

“We’re famous for the bed. There’s the Original Bed at the Palais Galliera in Paris and the Pompidou one from a few years ago. For Rust Never Sleeps, we’ve added four little antlers on each side of the bed – they’re talking to each other. There’s also a lot of room for people to sit on the bed and on the outside. Many more than two people. And the base is wood. People like Philippe Starck say that wood is irresponsible, but those who want to save the forests should use wood. It self-produces in a way plastic cannot.”

Fur Blanket

“There’s a huge blanket made from Canadian wild fur. We’ve used a lot of fur in the past, but I was one of the first to stop. There are reasons for fur not to exist – climate change and the exploitation of animals in its sourcing, which can certainly be cruel. But all our fur is from wild animals in nature. It’s about respecting the fact that those animals die, too, and it’s important to note that we don’t raise them to be killed. Compared with plastic or fake leather or even AI, the overall impact of fur on the environment is less destructive.” 

Rust Never Sleeps by Rick Owens Furniture is on show at Carpenters Workshop Gallery, Ladbroke Hall in London until 14 February 2026. 

Over the past 20 years, Rick Owens and Michèle Lamy have developed a distinct visual language rooted in the contrast between apocalyptic explorations of decay and stark, architectural monuments to the body. As with the Rick Owens runways – the most recent featuring face-painted models baptised in the waters of the Palais de Tokyo – the couple’s mythos has become a point of cultural marvel. 

Their ventures into the home with Rick Owens Furniture fuse a mausoleum-style austerity with an otherworldly sense of grandeur, setting the stage for a darkly hedonistic celebration of domestic life. Since 2005, the line has become synonymous with massively oversized beds, the tactility of crocodile leather, and stone-forged forms amidst a fever dream of moose antlers. But whatever the material, a sensuality persists – in both its primal materiality and the fact that the beds are designed to house far more than two occupants. After all, Owens once referenced the furniture line as facilitating an “art orgy” at the Centre Pompidou in Paris.

Now, at Carpenters Workshop Gallery in London, Rust Never Sleeps expands this visual language. Named after the 1979 song by Neil Young, the exhibition treats rust as a starting point for examining time and destruction. Curated by Lamy, it reimagines brutalist forms as decaying artefacts through a process of controlled oxidisation. But this erosion is not an endpoint – nor the final marker of an object’s death. According to Lamy, it is evidence of both her own and our ongoing influences on the world. As she says, “Even if you think you are irrelevant, you can still be relevant.” Such is the nature of rust. 

Here, Michèle Lamy walks us through the processes and inspirations behind five of her favourite pieces from the exhibition.

Antler Installation

“The antler pieces are our signature. We have an avalanche of antlers at the entrance like a pile of chairs. It functions as a greeting – so when you come in, you know where you are. We don’t kill the animals for their antlers. They naturally lose them, and we use them the way we find them. People also turn antlers into food for humans and use them in medicine. They strengthen your bones – that’s why animals chew on them.”

K Plug Table

“My favourite piece is the table. But the pieces are like children – you don’t want to choose a favourite. The table has one top resting on another. They’re connected with no nails or attachments. We also played with the rust, and we stopped it at a certain level; we decided the amount of rust. That’s new for us. The rust is about the future of civilisation. I’m not going to be there, and the old, white, heterosexual men are going to disappear, too. There is decay in our society, but we can stop it. And our tables are for hosting dinners – for celebrating being strong and fighting for anti-fascism together.”

Double Bubble

“Double Bubble is two pieces – different from each other, but one way of being. One is crafted with wood from the Black Forest in Poland, the other from swamp wood found in the Bois de Marais in France. One is upholstered with crocodile leather from the Nile, the other cowhide. They are different because, otherwise, it would be too much of the same story. Both woods have retained their natural colours, since they’re only 5,000 years on their way to being petrified. What will they look like if we wait 200,000 years?”

Antler Bed

“We’re famous for the bed. There’s the Original Bed at the Palais Galliera in Paris and the Pompidou one from a few years ago. For Rust Never Sleeps, we’ve added four little antlers on each side of the bed – they’re talking to each other. There’s also a lot of room for people to sit on the bed and on the outside. Many more than two people. And the base is wood. People like Philippe Starck say that wood is irresponsible, but those who want to save the forests should use wood. It self-produces in a way plastic cannot.”

Fur Blanket

“There’s a huge blanket made from Canadian wild fur. We’ve used a lot of fur in the past, but I was one of the first to stop. There are reasons for fur not to exist – climate change and the exploitation of animals in its sourcing, which can certainly be cruel. But all our fur is from wild animals in nature. It’s about respecting the fact that those animals die, too, and it’s important to note that we don’t raise them to be killed. Compared with plastic or fake leather or even AI, the overall impact of fur on the environment is less destructive.” 

Rust Never Sleeps by Rick Owens Furniture is on show at Carpenters Workshop Gallery, Ladbroke Hall in London until 14 February 2026.